Attached Trailers to Feature DCPs?

[Ryan Gallagher]

I don’t know that just having seen it presented without said trailer is evidence for two versions considering this conversation. But I do agree they are probably regionally beta testing this concept.

[Frank Cox]

How do you know which version you have? Is there some indication in the filename or is it just supposed to be a surprise when you set up the movie?

[James Gardiner]

Another reason I do think this will not take hold is that. If they start making DCPs OV with and without trailers, different for different regions. The explosion in deliverables would be extremely costly to the distributors.

[Ryan Gallagher]

How do you know which version you have? Is there some indication in the filename or is it just supposed to be a surprise when you set up the movie?

I doubt anything on an OV file name will give us warning. If UUIDs correspond to trailer having versions are discovered they could be shared in the offsets topic. But TRT might be the only way to guess, if the film TRT is known, other than waiting for a key and checking.

[James Gardiner]

You could look at the CPL data, if you see a very short, ADV/TLR length essence before the main 10min (est.) essance. Its a strong indication of something being added to the start of the feature. This is common in indy films with different distributors all over the place, adding a logo (10sec) before the feature.

[Jim Cassedy]

<edited> A related problem I have is with Sing Along Grease, which we show
annually and inexplicably sells out, or get close. It has stuff at the beginning and end
encouraging the audience to demand your local theatre show Sing A Long Grease,
and posting a long dead website or something.

Lol! Same experience here, and I think I've also seen the same thing on the Sing-A-Long
Mamma Mia! DCP, which seems to have a habit of always being re-booked a week or so
after I delete it from the TMS library.

[Ryan Gallagher]

Lol! Same experience here, and I think I've also seen the same thing on the Sing-A-Long
Mamma Mia! DCP, which seems to have a habit of always being re-booked a week or so
after I delete it from the TMS library.

We've not hosted many sing-along DCPs, but I have run into the vintage ads for theme park attractions that no longer exist at the end of the crawl, after the last studio/distribution cards. ;-)

Showed the regular Mama Mia here last week, didn't need the sing along version, it was still a sing along.

[Jason Sharp]

The USA release of Fantastic Four will have an Avatar preview attached.

[James Gardiner]

The USA release of Fantastic Four will have an Avatar preview attached.

Gee, I was worried for a second that I had the wrong length in my session calculations. But I remembered I took it from the CPL itself. So it couldn't have it wrong.

Also the CPL, has reels named. EN_51_AU_R1 EN_51_AU_R2 ... just over 10min each.
So it does not look like a preview has been added in my region. (AU)
From cinema-catcher-app the app does not show the CPL structure in a timeline format. I'll add that some day.

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[Jim Cassedy]

I've got another one coming up next week - - I can't remember which title it is, and I'm not at
work tonight, but I remember seeing a note about it having an attached trailer when it arrived
electronically in our Deluxe-box.

[Jim Cassedy]

FANTASTIC FOUR apparently has a trailer attached. I'll be running into a slightly different problem
soon with another show, which will be playing in HDR, and the studio has a couple of manditory
trailers they want played right before the feature, and in a particular order. But one of the trailers
is NOT in HDR. This creates all kinds of programming issues, which I will leave it to someone else
in the organization to figure out. Also, I got another feature DCP last week ("TOGETHER" )which
has an intro by a couple of the cast members attached before the feature. As has been the case
with most of these studio intros, (ie: the last "Top Gun" and a few others) the audio level on the
intro has no relationship to the audio level on the DCP. I can't skip it. Fortunately I discovered
this before a Q&A screening over the weekend and was able to drop in compensating volume
cues. (I'm running a special studio advance screening of this tonight in 35mm, and they sent
another equally loud but isolated copy of the intro of just the intro to play right before the film)

[Ryan Gallagher]

FANTASTIC FOUR apparently has a trailer attached. I'll be running into a slightly different problem
soon with another show, which will be playing in HDR, and the studio has a couple of manditory
trailers they want played right before the feature, and in a particular order. But one of the trailers
is NOT in HDR. This creates all kinds of programming issues, which I will leave it to someone else
in the organization to figure out. Also, I got another feature DCP last week ("TOGETHER" )which
has an intro by a couple of the cast members attached before the feature. As has been the case
with most of these studio intros, (ie: the last "Top Gun" and a few others) the audio level on the
intro has no relationship to the audio level on the DCP. I can't skip it. Fortunately I discovered
this before a Q&A screening over the weekend and was able to drop in compensating volume
cues. (I'm running a special studio advance screening of this tonight in 35mm, and they sent
another equally loud but isolated copy of the intro of just the intro to play right before the film)

[removed my previous reply as it was too much of a topic hijack, posting separately]

That is a good example of why we always have two projectionists in the booth for 35mm/70mm. Managing digital pre-roll and last minute changes becomes one person's duty, the other person focuses on running the film. The 2nd helps with rewinds and labeling/packing as we go. We've got enough automation now it's doable with 1 person, but before the automation it involved too many different booth locations and bolting between them to get a show started. It also means when something goes wrong there is one person to dedicate to fixing it, while the other does all the communication and house management stuff.

[Paul Finn]

In a manual booth operation, there should ALWAYS be a speaker lines' monitor capability in the booth for the sound going into the house. This gives the most ideal representation of the actual sound being delivered to the speakers and/or its problems.

Paul Finn

[Ryan Gallagher]

In a manual booth operation, there should ALWAYS be a speaker lines' monitor capability in the booth for the sound going into the house. This gives the most ideal representation of the actual sound being delivered to the speakers and/or its problems.

Paul Finn

Thanks paul, I moved that topic over here before you replied.
https://www.film-tech.com/vbb/forum/...omation-glitch

We have an RTA and tiny mic hanging in a port window, but it's not hooked up to a booth speaker currently. Our only feed is the AP20 monitor feed. Booth monitor volume in general needs a little love in our booth, as well as booth soundproofing.